This workshop explores a voicing idea that I call path orchestration, which is a method that I mainly use to come up with interesting fills. When you play fills, the subdivision you choose is crucial and is usually the first decision you make, either consciously or not. In addition to a song’s tempo, the subdivision determines whether a fill will sound slow or fast. If you want to play a fast figure at 120 bpm, you might choose a subdivision of 16th-note triplets. Likewise, if you want to play a fast fill at 80 bpm, you might choose 32nd notes instead. The second thing to consider when playing fills is what you actually play in that subdivision. Are you using a certain figure that results in a repetitive rhythmic phrase? Again, this may or may not be a conscious decision. This workshop explores an approach to a 16th-note fill. The […]

February 2019 Issue